Igshaan Adams’s hanging sculptures envision how material accretes, coils, separates, and becomes void. A queer practicing Muslim born in apartheid-era South Africa, Adams draws on the multiplicites of his own identity, as well as his faith, to produce intricately woven works that combine everything from standard rope and twine to wire, beads, springs, and dyeing agents, including red wine and detergents. The pieces range from obliquely religious tapestries to sinewy hanging abstractions, and the compositions often reflect the bricolage nature of their construction, with ordered patterns pierced by tectonic forms or gaps in the weave. While popular contemporary textile artists often create figurative work, Adams’s tapestries feel like explorations of the representational potential of woven material itself—how their individual origins and new combinations reflect broader cultural interchange. Adams is featured in The Artsy Vanguard 2020.